There was a moment on Coachella’s Sonora Stage last year — well, two moments, to be precise — when it really seemed to register with Clementine Creevy of L.A. indie rockers Cherry Glazerr that she was onto something special. Her band pulled a healthy number of swanky young scenesters into that tent, all delighted to holler and whoop for an artist surely destined for serious alt respectability. And the twinkle in her eyes accompanying a half-smile suggested that she knew it.
A few months later, Cherry Glazerr opened for Generation Sex at the Roxy on the Sunset Strip. A supergroup of sorts, including members of the Sex Pistols and Generation X — including frontman Billy Idol — the Gen Sex show was a solid event in Hollywood, and it spoke volumes that Cherry Glazerr were chosen to kick off the proceedings. Faced, this time, with a crowd of old-school punks decorated with (in some cases literal) life scars, Creevy again was able to captivate all. Clearly, something is happening here.
“Our crowds are amazing,” Creevy says, with a hint of gush. “They’re pretty mixed right now. We have a lot of different types of fans. I just feel like we have the best fans ever. Everyone is so awesome, and I love our fans. I feel really lucky to have great fans.”
Cherry Glazerr released its third studio album, Stuffed and Ready, on Feb. 1. Anyone familiar with the band knows that Creevy changes the lineup with every new record, and that throws in some fascinating factors. The new album is slightly darker and certainly more wild and raucous than 2017’s Apocalipstick. Some critics have complained that “Wasted Nun” and its accompanying controversial video are too polished, but those people are missing the point. Every Cherry Glazerr album displays a clear progression, an evolution. Creevy isn’t being told what to do by a room full of suits; she’s growing. Thankfully, the general reaction to Stuffed and Ready has been positive.
“Yeah, it’s been crazy,” Creevy says. “It’s been so cool. It’s exciting that anybody cares about the record at all. You don’t make music for other people, you make it because it’s fun to do. So I feel like I’m duping a society of people, really.”
The evolution of the band between albums is about way more than the change in personnel, of course. The three albums have seen Creevy go from her teens to early-20s — so naturally, she’s grown up a ton (as we all do in our formative years). The sophomore effort saw them signed to Secretly Canadian but, again, Creevy is no puppet.
“I feel like I have developed a really good ear over the past few years, or at least a better ear than I’ve had in the past,” she says. “That helped me a lot with this record-making process, because I realized a little bit more what I wanted to do with how I wanted it to sound. So I felt really confident in this record-making process, and that made it all the more fun.”
As with Apocalipstick, Carlos de la Garza produced Stuffed and Ready, though this time he worked alone (he co-produced the previous album with Joe Chiccarelli). Creevy says that the experience was a joy, because de la Garza is such a like-minded soul.
“I loved it so much,” she says. “It was easier to have less cooks in the kitchen, and Carlos is so awesome and easy to work with. We have a lot of the same ideas about things. We both have similar melodic intuitions and harmonic sensibilities. So whenever I would write something and think it was really cool, he would be like, ‘Yes!’ He wouldn’t be like, ‘I don’t get it,’ or ‘Maybe, I don’t know.’ We sort of got excited about the same stuff. So that was really nice to have.”
Apocalipstick was released in January 2017, the same month President Trump was inaugurated. We had a good idea that shitty things were upon us at that point, but we couldn’t have guessed just how violently awful life was about to get. That has been the backdrop to the recording of Stuffed and Ready and, while Creevy says that politics haven’t explicitly informed the subject matter, she concedes that current affairs have had an impact.
“More so than anything, I think people and art makers are a product of their society and that society inherently reveals itself through art, and through people’s work and music,” she says. “So I think that the society informs the artist and that comes through inherently in anybody’s work. I didn’t set out to make explicitly topical music, but it obviously resulted in being political considering the world around us. I’m of the school, also, of feeling that the world isn’t bad. I’m of the school of thinking that there is so much beauty in the world, and so many awesome experiences to be had.”
As for this set this time, at The Independent on March 10, Creevy is keeping her cards close to her chest.
“Well, we’ve included a lot of stuff,” she says. “The show has become very exciting for us. I can’t say anything because it’s a surprise. Just know that you’re in for a fun time. We are just really excited to be touring right now and I’m already writing the next album so I’m excited about that. There will be another lineup change. I know what it’ll be, and it’ll be good.”
And that’s how you keep your fanbase intrigued.
Cherry Glazerr with Palehound, Saturday, March 10, at The Independent, 628 Divisadero St. $20-$25; theindependentsf.com.